Calligraphy has always been associated with writing in Iran, and even when the writers had limited literacy, calligraphy and writing were still closely intertwined. Iranian calligraphy is the written form of the Persian language.
The Iranian art of writing marks a distinctive feature of Islamic civilization, traces its origin to the 7th century CE. Persian calligraphy is one of the most revered arts in Iranian and Afghan history. As Islam became popular in the 7th century, Persians adapted the Arabic alphabet to Persian and created the modern Persian alphabet.
Contemporary Persian calligraphy was seen in 1950 by a group of Iranians, Hossein Mirkhani, Ali Akbar Kaveh, Ebrahim Bouzari, Hassan Mirkhani, and Mehdi Baiani who founded Iran's Association of Calligraphers that year. In 1964, Azizuddin Vakili wrote "Calligraphy during the last two centuries in Afghanistan" for an overview of Persian calligraphy in Afghanistan.
The modernist movement can be seen when some dress designers such as Zenda Roudi, Jalil Rasouli, Parviz Tanavoli, and Nima Behnoud use Iranian calligraphy and Rumi poetry in their designs. Atighetchi uses large letters in a single large-format acrylic painting using colored naskh, suluth, and kufic style calligraphy.
He also uses circles in gold leaf or simple colors to decorate the painting for his work presentation, but in the Nastaligh style, the geometric forms and lines are used to modernize the painting, just as they are used to modernize the large format birds of bessmel (Persian: Margh Basmal), which are also drawn with large letters.
The style of this artwork can be categorized as post-modern. There has always been a connection between calligraphy and writing in Iran, and even when the writers lacked literacy, they were still intertwined.
Due to the advent of printing and the development of computer programs and digital fonts, this art gradually declined and the emphasis became solely on readability instead of aesthetics. This resulted in a decline in calligraphy appreciation among the younger generation, so the safeguarding of the Iranian calligraphic tradition became a concern.
It was started in part by the Iranian Calligraphers Association before the 1980s. Because of its huge popularity, the public sector was able to transform it into a national program by redefining and coordinating it on a large scale based on the public and private sectors' experiences.
A national program developed by non-governmental organizations in collaboration with the government was created for this purpose. This program aimed at promoting the use of calligraphy in modern living environments by offering formal and informal public training, publishing books and pamphlets, holding art exhibitions, and academic curricula.
Persian calligraphy, or Iranian calligraphy (Persian: Khushnevisi Iranian), is the written language of the Persian language.
The Iranian art of writing which marks a distinctive feature of Islamic civilization historically traces its origin to the 7th century CE. Persian calligraphy is one of the most revered arts in Iranian and Afghan history.
As Islam became popular in the 7th century, Persians adapted the Arabic alphabet to Persian and created the modern Persian alphabet.
Contemporary Persian calligraphy was seen in 1950 by a group of Iranians, Hossein Mirkhani, Ali Akbar Kaveh, Ebrahim Bouzari, Hassan Mirkhani, and Mehdi Baiani who founded Iran's Association of Calligraphers that year. In 1964, Azizuddin Vakili wrote "Calligraphy during the last two centuries in Afghanistan" for an overview of Persian calligraphy in Afghanistan.
The modernist movement can be seen when some dress designers such as Zenda Roudi, Jalil Rasouli, Parviz Tanavoli, and Nima Behnoud use Iranian calligraphy and Rumi poetry in their designs.
Atighetchi uses large letters in a single large-format acrylic painting using colored naskh, suluth, and kufic style calligraphy. He also uses circles in gold leaf or simple colors to decorate the painting for his work presentation, but in the Nastaligh style, the colorful geometric forms and lines are used to modernize the painting, just as they are used to modernize the large format birds of bessmel (Persian: Margh Basmal), which are also drawn with large letters. The style of this artwork can be categorized as post-modern.
There has always been a connection between calligraphy and writing in Iran, and even when the writers lacked literacy, they were still intertwined.
Due to the advent of printing and the development of computer programs and digital fonts, this art gradually declined and the emphasis became solely on readability instead of aesthetics. This resulted in a decline in calligraphy appreciation among the younger generation, so the safeguarding of the Iranian calligraphic tradition became a major concern.
It was started in part by the Iranian Calligraphers Association before the 1980s. Because of its huge popularity, the public sector was able to transform it into a national program by redefining and coordinating it on a large scale based on the public and private sectors' experiences.
A national program developed by non-governmental organizations in collaboration with the government was created for this purpose. This program aimed at promoting the use of calligraphy in modern living environments by offering formal and informal public training, publishing books and pamphlets, holding art exhibitions, and developing academic curricula.
References
(https://ich.unesco.org/en/BSP/national-programme-to-safeguard-the-traditional-art-of-calligraphy-in-iran-01716) (https://en.wikipedia.org/wiki/Persian_calligraphy) |Subject=Art, Verbal Arts and Literature |Country=Iran |SDG=(04) Quality Education, (08) Decent Work and Economic Growth, (09) Industry, Innovation and Infrastructure, (11) Sustainable Cities and Communities }}